commercial printer

My name is Norman Lassiter. From 1976 - 1988, I owned a screen-printing
studio, Editions Lassiter-Meisel, that was located at 54 Thomas Street,
lower-Manhattan. This studio worked with various artists to allow them to
create graphic images of their work.

The involvement of the artist with the screen-printing process was
essential. At various points, certain procedures were coordinated with the
artists through third parties. The artists or their representatives
dictated all aesthetic decisions.

Editions Lassiter-Meisel worked with a host of artists, among them: Richard
Anuskiezwicz, Jean-Michel Basquiat, Charles Bell, Tom Blackwell, Audrey
Flack, Paul Jenkins, Theodore Stamos and Frank Stella.

A quick overview of the screen-printing process as performed at Editions
Lassiter-Meisel:

_ Screen-printing is a stencil medium.

_ The process involves the creation of a stencil from artwork prepared by
the artist.

_ The artwork usually consists of a transparent overlay (either
photographic or drawn) used to expose a light-sensitive screen
material to produce a stencil.

_ This stencil is used to apply an ink to paper, board, canvas or other
surfaces.

In the case of Andy Warhol, Rupert Smith or Smith's representative
brought a transparency(acetate) to my studio. We would produce a stencil
from that transparency( acetate) and, normally, the stencil would be taken
back to Mr. Smith"s studio where it was used in proofing, printing and
painting
Andy Warhol's work.

At some point, when work was backed up at Rupert Smith"s studio we assisted
Mr. Smith
in the printing process. All colors were mixed by Mr. Smith , Robert , Stephen
and Jean-Paul. When we were doing the printing, Rupert
Smith or one of his representatives would check the work when we finished.
Normally, several proofs were produced from each image
and those were used to create the final piece of art. It is my
understanding that Mr. Smith or his
reps would show the work to Andy Warhol for approval.

The staff at Editions Lassiter-Meisel never made decisions as to
color or image. At all times when we were involved in the printing
process, all creative decisions were forwarded and
coordinated by Rupert Smith or his assistants.

All separations and other artwork used in the preparation of stencils,
proofs, prints and paintings were returned to Rupert Smith. All stencils
printed
at Editions Lassiter-Meisel were destroyed.

At no time did the staff at Editions Lassiter-Meisel ever have any direct
professional contact with Mr. Andy Warhol.
At no time did Andy Warhol ever visit Editions Lassiter-Meisel to watch his
work being created.